Showing posts with label awareness. Show all posts
Showing posts with label awareness. Show all posts

The Gift Review

The Gift
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Hafiz has long been one of my favorite poets. I first discovered him when I was in college via Goethe and Ralph Waldo Emerson, and I've been readng his poems ever since. Since I am (alas!) without Parsi, I'm unable to read Hafiz in the original, and must rely upon the kindness of translators.
Daniel Ladinsky has done an interesting job of rendering Hafiz's verse into English. Ladinsky has an ear for rhythm and he strikes me as an individual with deep spiritual sensibilities. When he renders one of Hafiz's couplets as "The body a tree./God a wind", one senses that there's more going into this translation than just philological expertise. Landinsky, like Hafiz, is a mystic.
That spiritual bond with Hafiz, as well as a shared joy in the sheer vitality of creation, makes Landinsky's renderings light-hearted, in the sense that they shimmer with what Hafiz would call God's Light. Some of my favorite examples: "Whenever/God lays His glance/Life starts/Clapping"; "What is the beginning of/Happiness?/It is to stop being/So religious"; "All the talents of God are within you./How could this be otherwise/When your soul/Derived from His/Genes!"
But while I can appreciate the lyrical way in which Ladinsky trys to express Hafiz's insights, I do wonder about the reliability of the translations. They're loaded with modernisms that are somewhat grating after a while: we're derived from God's "genes," the sun is "in drag," characters in the poems "dig potatoes," the soul visits a "summer camp." Moreover, many of the renderings make Hafiz sound suspiciously like a Zen master throwing out koans (an obvious example of this is the poem Ladinsky titles ""Two Giant Fat People".) To his credit, Landinsky freely admits in his translator's preface that he's "taken the liberty to play a few of [Hafiz's] lines through a late-night jazz sax instead of from a morning temple drum or lyre." But he's unapologetic, claiming that the translator's job is to help Hafiz's spirit "come across" to the Parsi-less reader, and that this demands a free rendering.
I'm not so sure. This attitude strikes me as rather patronizing to the reader and disloyal to Hafiz himself. So my bottom line is this: Ladinsky's book is a good read on both poetical and spiritual grounds. But I'm forever left in doubt as to whether I'm reading Ladinsky or Hafiz.

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Borges: Selected Poems Review

Borges: Selected Poems
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Borges was fascinated by English. As a kid, he grew up speaking it with his English grandmother and he spent the rest of his life ransacking the treasure-chest of English and American literature. In a famous prose-poem published in 1960, "Borges and I", he could cite Robert Louis Stevenson's prose as one his favorite things (alongside the taste of coffee and the strumming of a guitar). And even after he lost his eyesight in mid-age, most of the books he went on reading in his mind were in English.
Consequently, he sounds good in translation. It's tough to make Neruda or Lorca or even a lot of novelists writing in Spanish sound clear and convincing in English. Lorca, for example, wrote in a distinctively Andalusian idiom, and nobody who has never read his poetry in the original can understand how stilted he sounds in English. Borges, by contrast, had a more universal intellect and the strands of his writing span many non-Hispanic cultures. His reading in many different literatures left a deep imprint on him linguistically and helps explain why his work translates so well into other languages. While it's true that much of his poetry has a distinctly Argentine "flavor", it has many other flavors, as well. Depending on the poem, Borges can evoke Quevedo, Leopoldo Lugones, "Beowulf", the Icelandic Prose Edda, Whitman, Omar Khayyam, or Ralph Waldo Emerson. And yet the English influence is present in virtually all of his work.
Thirteen translators are featured in this anthology and the quality varies. Barnstone and Merwin are, as usual, impeccably accurate and 1000% unadventurous. Robert Fitzgerald shows yet again that his last name must be some kind of cosmic byword for quality (F. Scott, Edward, Ella, now Robert...). His version of "Odyssey, Book Twenty-Three" is breathtakingly tight and sweeping, actually more of a rendition than a word-for-word translation. Unlike Barnstone's somewhat stilted versions of Borges' sonnets, Fitzgerald manages to stick to the original rhyme-scheme without sounding forced. Unfortunately, he only did five poems in this book. ¡Qué lastima!
Alistair Reid did most of the work here. Reid is a perfect example of a fine translator who did some really great stuff back in the '60s, then apparently revised it to make stuffy literalists like Barnstone happy. For example, he took an excellent translation of "Limits" (which appeared in a 1967 book called "A Personal Anthology", which basically launched Borges's reputation in the United States) and altered it to make the words stick more closely to the original Spanish word order. It's still a good translation and all, but not as good as the first one.

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Pablo Neruda: Selected Poems (Edición bilingüe) Review

Pablo Neruda: Selected Poems (Edición bilingüe)
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A MUST HAVE. Es sin duda un libro que vas a cuidar y conservar con mucho cariño. La recoleccion de poemas es brillante, exquisita, de primera. Quien no ha leido a Neruda? Lo bello del libro es que ofrece los poemas en el idioma que fueron escritos y en Ingles. La traduccion al ingles es excelente. No hay mucho que hablar sobre este libro, los poemas son una obra de arte y que esten a la vez traducidos al Ingles ya es mas que un buen regalo. No pienses dos veces en obtenerlo.

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In his long life as a poet, Pablo Neruda succeeded in becoming what many poets have aspired to but never achieved: a public voice, a voice not just for the people of his country but for his entire continent. Widely translated, he probably reached more readers than any poet in history; justly so, for, as he often said, his "poet's obligation" was to become a voice for all those who had no voice, an aspiration that stemmed from his long-time commitment to the communist faith. Born in 1904 in the rainy south of Chile, he enjoyed from an early age the luck of attention. One of his first books, Twenty Love Poems, became a bible for lovers in the Spanish language, and confirmed him in his poet's vocation. At the same time he pursued a lifelong career as a diplomat, serving in a series of consular posts in the Far East and Europe. In 1971, while serving as Chilean ambassador to France, he was awarded the Nobel Prize for literature. In a famous essay, "On Impure Poetry," Neruda calls for "a poetry as impure as old clothes, as a body with its foodstains and its shame, with wrinkles, observations, dreams, wakefulness, prophesies, declarations of love and hate, stupidities, shocks, idylls, political beliefs, negations, doubts, affirmations, and taxes."

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Twenty Love Poems and a Song of Despair: Dual-Language Edition (Penguin Classics) (Spanish and English Edition) Review

Twenty Love Poems and a Song of Despair: Dual-Language Edition (Penguin Classics) (Spanish and English Edition)
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I am a newcomer to the poetry of Pablo Neruda. "Twenty Poems and a Song of Despair" is simply one of the best volumes of poetry I have ever read. What a vast horizon opened up to me when I picked up this book! Rarely have I encountered a poet that so palpably evokes longing. Few other poets have Neruda's ability to weave images. These poems burrow into the heart.
My Spanish is not what it should be, but I was able to read most of the poetry here in the original. For those who know no Spanish, do not be deterred. This volume is the work of not just one but two masterful poets. Merwin's translations are amazing and wholly recommendable. Striking images and a yearning spirit fill the English translations as well as Neruda's originals.
I was also caught off guard by poem XVI. I was reading along, thinking how I had not read poetry this full of longing and desire since I last read Tagore's "Gitanjali" ..., when lo and behold, Poem XVI is a Spanish paraphrase of a Tagore poem...small world.
Neruda's poems are of filled with a powerful Eros. Yet, to me, they fall a little short in comparison to those of Tagore (whose love is a spiritual longing). However, the comparison is clearly between two giants of the art.
I give "Twenty Love Poems and a Song of Despair" a strong recommendation.

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